Entitled Fountain, rotated from its usual axis, and signed with the mysterious initials “R

Entitled Fountain, rotated from its usual axis, and signed with the mysterious initials “R

In some ways the ?exibility of normative masculinity often facilitates its easy defusing of the disruptive potential of these nonnormative sexualities

Let us then be brave, as our sons were brave; let us be thankful that it has been our privilege to give our sons to our country and to the cause for which they so nobly sacri?ced their precious lives. – Robert Leighton to Thomas Brittain, June 24, 1918, on the loss of their sons in the war17

or homosexuality. The most important point to be drawn from Fussell’s argument, viewed from this angle, is that, while war functions in general to reinforce masculine and national power, World War I paradoxically set in motion experiences that served to unmask the absence at the heart of these narratives of progress, undermining their truth value and leading to a culture of cynicism and irony (a culture perfectly exempli?ed, in its most extreme form, by the work of the Dadaists). The so-called Great War, then, undermined not only nationalism and the corresponding unquestioned belief in progress that was promoted as part of werkt feabie com untrammeled capitalist development but also masculine subjectivity, pointing to the fact that these three ideological and psychic structures (nationality, capitalism, masculinity) are intertwined and interdependent. Bringing together these regimes of lack through an ironic visualization of absence, in 19ously submitted a urinal to the Society of Independent Artists in New York City. Mutt,” the piece effectively tested the boundaries of the Society’s claim that any and all entries would, for a nominal fee, be accepted into its exhibition, which had no jurors (?g. 2.3). The piece was summarily rejected before the show opened (by whom, since there were supposedly no jurors, it remains unclear) but was then taken to Alfred Stieglitz’s 291 gallery and photographed by Stieglitz. While this “original” Fountain subsequently disappeared, in its radical absence it has nonetheless-via Stieglitz’s photograph, descriptions of the event, and later copies of the work-become one of the key works in the history of avant-garde modernism. „Entitled Fountain, rotated from its usual axis, and signed with the mysterious initials “R“ weiterlesen